It feels uncomfortable at first. The long-range view is from the perspective of God; the middle-range view is the onlookers; the close-up view is the guests; the close-up is just...everyone is not very familiar, who wants to keep looking at the pores, pimples and pimples on the faces of strangers! This mud girl is "invading" the private realm! ! No Sufu! ! !
Especially for my type of "don't get close to strangers", as long as I feel the slightest bit of "aggression", the alarm will be loudly sounded.
But I have also met my peers who just met and ran around naked in front of me, but turned down at a speed that I was very surprised to get out of the way and got acquainted with each other.
No one likes to talk to strangers from nose to nose. But on the other hand, if you talk to a person tip to tip for 3 hours, she is not a stranger.
The close-up of breaking the safe distance and the sex scene breaking the scale make people want to run on their legs, or accept the protagonist on the screen like an old friend. The "intrusive" attitude and posture are very important.
Adele with messy hair, two rabbit teeth and laughing mouth are cute, but not glamorous or sexy. Never make up and always dress casually. The appearance is kind and pleasing. And the actor Adele is the least self-conscious...human being I have ever seen.
No matter how close the camera is placed, her expression and body are defenseless, just like the character Adele relaxing and spreading her legs in front of Emma's canvas. The actor Adele seems to be living in a truman show, and she doesn't know that someone is filming her. Look like.
When she was in a daze, her eyes were empty, she would lick the sauce on the knife when eating, walk to lift her pants, stretch her tongue to moisten her lips before kissing Emma, and tears flowed down like this when she cried...with her nose. The details are so full and so natural.
Seeing her sleeping posture on all sides, seeing her dancing with her arms and legs, watching her attacking food with big mouths, watching her hair that will never be cleaned up. There is no sense of strangeness at all, and no sense of threat. Isn't this the way I died ten years ago and fifteen years ago? At least...I must have known a girl like this, who cried and laughed like this and slept on her stomach like this.
Then I felt sucked in and became a good friend. She is in love, lost in love. I have broken the hearts of others, and have been severely hurt by others. After splitting his legs, he lost his original love. He turned around reluctantly and grew up.
Even if she doesn't like her, who can bear to blame. In the cafe, she cried and watched Emma walk out of sight, who remembered something like "the highest point of morality". Only distressed. It's not that I feel sorry for Adele, but I feel sorry for myself and the friend who has lost love.
This is the biggest difference between French films and American films. The latter allows the audience to experience, admire, and imagine the lives of the protagonists, while the former turns the protagonist’s love-hate separation process into the audience’s life record. Even if the language is different and the culture is different, who has never had a classmate like Adele? Who has never had the same heartbeat as Adele.
When she became a portrayal of ourselves when we were young, incarnate as a little partner in our memory, seeing her doing sex with her was not only not embarrassing, but also a sense of intimacy. ), as for her lover, she is also a part of her and does not become her label certification (when we think of our friends, the first thing that pops up in our minds must not be the other party’s sexuality, let alone be defined by this Iraq)
As long as the director trusts the audience, don't intervene in trying to guide.
Because it is homosexual, it must be different from heterosexuality. Adele, who was still self-identified, shouted "I am not Lara" under the pressure of her classmates. When she took Emma home, she could not tell her parents that it was her girlfriend. Encouraging friends and disagreeing friends, enlightened parents and traditional parents, exist in movies just as they exist in real life.
Not drama. c'est la vie. It is not "how we live differently from you (aka please sympathize with me)" nor "how we live the same as you (aka please accept me)", but "we live with you"
The director's control is very strong (the beginning and the end are the back of Adele walking towards the "next stop", and the reading of Marivaux corresponds to Adele giving lessons to the little friends), but the whole story presents a home video-like relaxed and casual. The big sound is loud, the elephant is invisible.
To make such a movie, there must be two young actors who are not afraid of being naked and not afraid of fresh and natural sex scene acting skills, a director who is not afraid of 3 hours of film length and dare to shoot empty shots, and a system that classifies this scale as NC12. There is also a group of audiences who don't treat bed scenes as a gimmick before watching a movie, and after watching them, don't focus on "real or fake", and will not discourage the heroine.
In other words, only the French can shoot this film. The significance of the existence of French films is not in the box office or cultural output, but in "no one else can do this." The ultimate significance of a country’s film industry should be here.
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